'Discovery' set to shake symphony up

The early reviews are in: "They kind of just went wild. They were clapping and rocking out. In the '60s, the word was a happening."

Tony Sauro

The early reviews are in: "They kind of just went wild. They were clapping and rocking out. In the '60s, the word was a happening."

Peter Jaffe still sounded excited shortly after 3,000 fourth- and fifth-grade students had reacted enthusiastically during two Stockton Symphony "steppin'-out" performances Wednesday at San Joaquin Delta College.

It happens again today when Jaffe conducts the orchestra and six-string electric violinist Tracy Silverman in a reprise of "Embrace" - a concerto that composer Kenji Bunch characterized as a 21st-century musical "flash mob."

The Portland, Ore.-based composer can relate to the students' and Jaffe's experiences. They're part of the symphony's "discovery" series.

"It's been great," Bunch, a viola player and composer, said of reaction to the 20-minute "Embrace." "It's been beyond my expectations. Beyond what I'd hoped would happen. I'm most happy about the willingness of musicians to buy into the idea and get into the spirit of the work. It does ask some un-traditional things from them."

Bunch, Jaffe and Nashville, Tenn.-based Silverman - a very un-typical performer for whom Bunch wrote the concerto - hope to alter classical-music convention a bit.

Today's 75-minute concert - and an initial Oct. 4 performance by Silverman and the 86-year-old orchestra - is designed to shake things up and broaden mainstream appeal. Plus, it's free.

In emphasizing rhythmic variety, Jaffe also conducts the finale of Gioacchino Rossini's "William Tell Overture," some Johann Sebastian Bach fugues and movements from Manuel de Falla's "Three-Cornered Hat." He hopes Silverman, 54, adds a solo - using his foot pedal and "looping" technology to resemble an "entire ensemble."

"People don't need to dress up," Jaffe, 57, said, though they might want to arrive at Atherton Auditorium early. "They can be as comfortable as they are going to a movie. There are periods during the piece where we want the audience to participate. Out-and-out clap in rhythm."

That's part of Bunch and Silverman's original plan, too.

An eight-orchestra consortium (Orchestral Engagement Lab) that includes the symphony formulated the concept in the summer of 2012 in Montpelier, Vt. Paul Gambill, the Montpelier Chamber Orchestra conductor, is the "mastermind," Bunch said. "He's spent his whole career talking about connecting in creative ways."

Bunch, 40, a Portland native who spent 22 years in New York City after earning two degrees in viola and composition at the Juilliard School, has done that before.

Jaffe conducted the West Coast premiere of Bunch's "Double Talk" on Nov. 17 and 19, 2005. This time, Bunch's challenge - composing a "flash mob" vibe centered on an electric instrument that won't be overwhelmed by the orchestra - was novel.

"It introduces the instruments gradually," he said of "Embrace," which has been performed in San Antonio, Boston, New York City, twice in Vermont, and reaches Anchorage, Alaska, in March. "Somehow we re-create the energy, excitement and element of surprise that goes into a 'flash mob.' Obviously, it's not too much of a surprise because people know something's gonna happen. It's different every time it's performed."

That's partly because of Bunch's "total trust" in Silverman, who's given freedom to imagine during some passages.

"I have the most fun working with Tracy," said Bunch, who met Silverman, 53, at a 2006 Mark O'Connor violin camp in San Diego. "He has incredible range. Almost cello-through-violin. I trust him with things I wouldn't necessarily leave up to a classically-oriented player."

That suits the musical persona of Bunch, who's married to Monica Ohuchi, for whom he wrote a piano concerto.

"My path is a little different," Bunch said. "To me, it's exploring new territory. Doing many different things. Connecting with as many musicians and different genres as I can. Understanding different levels.

"I cast a pretty wide net. I haven't found any genre that hasn't interested me in some way. Beautifully crafted music of any kind. A lot of eclectic influences."

That began when he and older brother Genji, 42, grew up in Portland, "listening to mom blasting (German composer (Richard Wagner's) 'Ring Cycle' on the record player."

"They weren't musicians," Bunch said. "But they were enthusiastic music lovers. They took us to as many musical events as possible. I was at the opera when I was 3."

After beginning on piano and violin at 5, he moved to viola at 13 (Genji was playing violin). He matured in the Portland Youth Philharmonic before graduating from Wilson High School and heading for Juilliard, where he began learning composition.

He has faith that - while "facing some challenges" - symphony orchestras remain sustainable. With a little imagination, that is.

"I got to thinking: What are some of the most unusual, but effective, uses of the orchestra?" Bunch said. "I thought of 'flash mobs' you see on YouTube. You know, people playing 'Bolero' in a train station."

Contact Tony Sauro at (209) 546-8267 or tsauro@recordnet.com. Follow him on Twitter @tsaurorecord.